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With the opening sound of church bells, a national touring production heralds a warm and lovable rendition of a timeless classic.

There’s much to enjoy in the latest rendition of The Sound of Music, directed by three-time Tony Award winner Jack O’Brien, from the brilliant staging to the appealing cast to a leading lady, Maria, played by Charlotte Maltby, who brings a solid vocal range to the role.

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But, let’s face it, one of the toughest parts is getting the kids right, as in seven little von Trapps, and what could easily be a weak link is one of the production’s most endearing elements.

The scenic design by Douglas W. Schmidt is a dizzying marvel of criss-crossing risers and wonderfully rendered set pieces. A little strategically placed dry ice on occasion does wonders in enhancing the mood.

A brief plot recap for the uninitiated: aspiring nun Maria Rainer isn’t a good fit for a cloistered abbey of Austrian nuns — her penchant for breaking out into song just one of her non-sisterly qualities — so the mother abbess sends her to the nearby von Trapp home to serve as governess.

There she meets Captain von Trapp (Nicholas Rodriguez), a strict and rather aloof father, who’s affianced to the glamorous but distinctly unmotherly Elsa Schraeder (Teri Hansen).

But it’s 1938 and a dark cloud looms over Austria as the Anschluss or annexation of the country by Nazi Germany sows division and fear, and fierce resistance from patriots like the Captain, a respected naval officer.

Part of Maltby’s appeal, besides her soaring voice, is the subtly awkward adolescent physicality with which she imbues the role.

It takes a little more effort to warm up to Rodriguez, who seems a bit tentative at first, but his rendition of “Edelweiss” is so moving you wish it would go on forever.

In fact, in a show teeming with wonderfully memorable songs, it’s another solo number, “Climb Ev’ry Mountain,” by Melody Betts (an unconventional choice as Mother Abbess that pays off) that evokes a stirring emotional response.

The ensemble numbers are all sublimely well executed, especially “So Long, Farewell” by the von Trapp kids. From Liesl to little Gretl, they are seriously fun to watch, especially Dakota Riley Quackenbush as the mischievous Brigitta.

Hansen as Elsa and Merwin Foard as Max Detweiler provide some fine repartee and welcome comic relief, and Austin Colby does much with a minor role as Rolf Gruber, the love interest of Liesl.

The show is about two and a half hours long (with intermission). But it’s a well-paced affair that breezes along with nary a padded moment.

As family-friendly entertainment for all ages, The Sound of Music is a note-perfect delight.

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